Writer: Ernest Kearney

Ernest Kearney, an award-winning L.A. playwright and rabble-rouser of note, has worked as literary manager or as dramaturge for among others The Hudson Theater Guild, Nova Diem and the Odyssey Ensemble Theatre, where he still serves on the play selection committee. He has been the recipient of two Dramalogue Awards and a finalist or semi-finalist three times in the Julie Harris Playwriting Competition. His play Peddle was selected by the Midwest Theatre Network as one of the best plays of 1997. His most recent work 'The Salt Prince' was awarded honors from the Nathan Miller History Play Contest as well as the Fremont Center Theatre Play Contest. A passionate theatre and history buff, Mr. Kearney's reviews can be found on workingauthor.com and TheTVolution.com. Hang with him on Facebook. Comments welcome.
Jun

A Beast/A Burden

The script by Brewton is solid, as is his direction. Hethcoat and Deshaw are both exceptional in their depiction of a young couple being torn apart by the creative drive that fuels, only one of them.

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Jun

Still Life of an Orange and Other Puppet Parables

Puppeteer Jean Minuchin's Still Life of an Orange and Other Puppet Parables starts off strong and closes strong but… somewhere along the way, the middle falls out, leaving a center that doesn't seem connected to the creative bookends it's wedged between.

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Jun

The Dead Guy

The script by Eric Coble is threadbare and predictable, and Johnson, who as the TV producer is the whip master of the conflict is displays none of the professional hustle, cut throat determination or silver-tongued manipulation that are as conspicuous in entertainment executives as a diamondback's rattle.

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Jun

STILL

Directed by Olivia Fischer, and written by her in association with the cast, Still, (which I believe is the Fringe's first South African entry) is stylish, intelligent, superbly acted by a strong cast and beautifully staged.

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Jun

The Importance of Being Oscar

The Importance of Being Oscar is demonstrative of a particular difficulty in writing plays, scripts or novels dealing with historical personages; the author must always master them.

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Jun

Shilo Kloko

It is a pity that Shilo Kloko was at the Fringe so briefly, because it offers a wonderful opportunity to experience Butoh dance theatre and Japanese puppetry art. A Platinum Medal.....

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Jun

Earhart: More Than a F*cking Mystery

The standout in the production was Muriel Montgomery as Putnam himself. For a good time a Gold Medal and a scolding....

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Jun

Last Christmas

Forget helicopters flying over the audience or high-tech computerized video effects of a Ka' stage with grid rigging and a hydraulic rising platforms. All one needs to make great theatre is a space, solid acting, and a story worthy of being told and worthy of being heard.

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Jun

Ain't That America

This is a work that defies the common wisdom, which is common because it is wise. But Brahan and Schultz offer themselves up as the proverbial “exceptions that tests the rules.”

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Jun

MACKERS!

In a fashion, they have returned the bard and his play to that original environment where it would have, first, been staged; an environment where actors were constantly padding their roles and in which the comic characters were always clowning for the audience.

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Jun

THE BOOK THAT I'M GOING TO WRITE, BY JUDY GARLAND

The Book That I'm Going to Write, by Judy Garland is an idea that someone should have talked performer/creator Jason Powell out of.

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Jun

Dracula's Taste Test

Essentially a variety show featuring Dracula (Marz Richards who also produces) the whole thing is an enjoyable lark of silly guest monsters with Jeff Sumner as the “creep” being the stand out.

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Jun

Spaceman

Vitello's script suffers from a horde of failings that even the talent, which she has in her cast, can't surmount.

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Jun

Skin Jobs

Vejvoda's script is intelligent and rings true.  Director Lee Costello has done fine work in shuffling his actresses about a stage that is a tad too small.

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Jun

Black When I Was A Boy

Cooper Bates' one man show, Black When I Was a Boy is a truly heartfelt tale of that banishment from paradise so many of us experience when we first come to learn the sinful truth: The serpent of prejudice and racial intolerance slithers through our world.

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Jun

The Big Picture

The Big Picture is as cluttered, chaotic and confused as your average, interstate, multi-vehicle pileup and even less fun.

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Jun

Negative Spaces

Holmes touches on fears and insecurities that have not received great attention, to the best of my knowledge, on stage or film. And the sincerity she reveals in the grief of her characters shows an awareness of the suffering they're undergoing.

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Jun

The Women of Lockerbie

Director Jim Blanchette presents this drama on a suitably stark stage (a tip of the hat to set designer Carrie Ackerman). His cast serves the drama excellently, especially Ed Ackerman as the distraught father of a lost child who is on the verge of losing his wife to grief.

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Jun

I Can Hear You Now

Bisschop changes costumes and characters in an ever-rising comic crescendo connected via video links by himself and De Lorenzo; although a few of which could have used some work. Nevertheless, I Can Hear You Now is one of the funniest shows of the Fringe and wildly enjoyable.

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Jun

Shakes on the Rocks

Without any cohesion of style or intention the entire undertaking was about as amusing as watching a rehearsal of a high school drama class. For ninety minutes.

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